I am a teacher in the near future.
The Love Song
By: J. Alfred Prufrock
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma per ciò che giammai di questo fondo
Non tornò vivo alcun, s’i’ odo il vero,
Senza tema d’infamia ti rispondo.
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the windowpanes,
The yellow smoke that rubs its muzzle on the windowpanes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
The term modernism refers to the radical shift in aesthetic and cultural sensibilities evident in the art and literature of the post-World War One period. The ordered, stable and inherently meaningful world view of the nineteenth century could not, wrote T.S. Eliot, accord with “the immense panorama of futility and anarchy which is contemporary history.” Modernism thus marks a distinctive break with Victorian bourgeois morality; rejecting nineteenth-century optimism, they presented a profoundly pessimistic picture of a culture in disarray. This despair often results in an apparent apathy and moral relativism.
The most controversial aspect of the modern movement was, and remains, its rejection of tradition. Modernism’s stress on freedom of expression, experimentation, radicalism, and primitivism disregards conventional expectations. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects, as in the strange and disturbing combinations of motifs in surrealism or the use of extreme dissonance and atonality in modernist music. In literature this often involved the rejection of intelligible plots or characterization in novels, or the creation of poetry that defied clear interpretation.
Modernism is an encompassing label for a wide variety of cultural movements. Postmodernism is essentially a centralized movement that named itself, based on socio-political theory, although the term is now used in a wider sense to refer to activities from the 20th Century onwards which exhibit awareness of and reinterpret the modern.Postmodern theory asserts that the attempt to canonise modernism “after the fact” is doomed to undisambiguable contradictions.In a narrower sense, what was modernist was not necessarily also postmodern. Those elements of modernism which accentuated the benefits of rationality and socio-technological progress were only modernist.
- Modernism is marked by a strong and intentional break with tradition. This break includes a strong reaction against established religious, political, and social views.
- Modernists believe the world is created in the act of perceiving it; that is, the world is what we say it is.
- Modernists do not subscribe to absolute truth. All things are relative.
- Modernists feel no connection with history or institutions. Their experience is that of alienation, loss, and despair.
- Modernists champion the individual and celebrate inner strength.
- Modernists believe life is unordered.
- Modernists concern themselves with the sub-conscious.
A Midsummer Night’s Dream Plot Summary
Theseus, the Duke of Athens, is preparing for his marriage to Hippolyta, Queen of the Amazons, A courtier seeks the Duke’s intervention because his daughter, Hermia, will not agree to his choice of Demetrius as a husband: she’s in love with Lysander. The Duke tells Hermia to obey her father, or either die or accept a life as a nun in Diana’s temple. Lysander and Hermia plan to elope, and they tell Helena, who is in love with Demetrius, but he hates her and loves Hermia. The lovers run away from Athens but get lost in the woods. They are followed by Demetrius, and then by Helena, who has told him of their intentions.
Oberon, king of the fairies, who lives in the woods, has quarrelled with his queen, Titania, over an Indian boy she refuses to give him. Oberon overhears Helena and Demetrius arguing and sends his mischievous servant, Puck, to get a flower whose juice has the power to make people fall in love with the first creature they see when the juice is placed on their eyelids while asleep. He instructs Puck to put some drops on Demetrius’ eyes. Mistaking the Athenian he seeks, Puck puts the flower juice on the eyes of the sleeping Lysander so that when he is woken by Helena he immediately falls in love with her and rejects Hermia.
Some artisans are rehearsing a play about the tragic love-story of Pyramus and Thisbe to present before Theseus on his wedding day. Bottom, the weaver, is to play the lover, Pyramus, while Flute, the bellows-mender, is to play Thisbe. The others play the parts of the Moon, the Wall and the Lion and they are directed by Quince, the carpenter. Puck overhears their rehearsals in the wood and he plays a trick on them by giving Bottom an ass’s head which frightens the others away. Bottom is lured towards the sleeping Titania whom Oberon has treated with the flower juice. On waking, she falls in love with the ass and entertains him with her fairies, but when Bottom falls asleep beside her, Oberon restores Titania’s sight and wakes her. She is appalled at the sight of what she has been in love with and is reunited with Oberon.
Puck removes the ass’s head and Bottom returns to Athens and rejoins his friends as they prepare to perform their play. Meanwhile the lovers’ arguments tire them out as they chase one another through the woods and when Demetrius rests, Oberon puts magic juice on his eyes so that both he and Lysander pursue Helena until the four lovers fall asleep, exhausted. Puck puts juice on Lysander’s eyes before the lovers are woken by Theseus and Hippolyta and their dawn hunting party. Happily reunited to each other, Lysander with Hermia, Demetrius with Helena, they agree to share the Duke’s wedding day. The rustics perform the play of Pyramus and Thisbe before the wedding guests. As the three couples retire Puck and the fairies return to bless the palace and its people.
New Historicism is a literary theory based on the idea that literature should be studied and intrepreted within the context of both the history of the author and the history of the critic. Based on the literary criticism of Stephen Greenblatt and influenced by the philosophy of Michel Foucault, New Historicism acknowledges not only that a work of literature is influenced by its author’s times and circumstances, but that the critic’s response to that work is also influenced by his environment, beliefs, and prejudices.
There are a number of similarities between this school and Marxism, especially a British group of critics making up a school usually referred to as Cultural Materialism. Both New Historicists and Cultural Materialists are interested in recovering lost histories and in exploring mechanisms of repression and subjugation. The major difference is that New Historicists tend to concentrate on those at the top of the social hierarchy (i.e. the church, the monarchy, the upper-classes) while Cultural Materialists tend to concentrate on those at the bottom of the social hierarchy (the lower-classes, women, and other marginalized peoples). Also, though each of the schools practices different kinds of history, New Historicists tend to draw on the disciplines of political science and anthropology given their interest in governments, institutions, and culture, while Cultural Materialists tend to rely on economics and sociology given their interest in class, economics, and commodification.
New Historicism shares many of the same theories as with what is often called Cultural materialism, but cultural materialist critics are even more likely to put emphasis on the present implications of their study and to position themselves in disagreement to current power structures, working to give power to traditionally disadvantaged groups. Cultural critics also downplay the distinction between “high” and “low” culture and often focus predominantly on the productions of “popular culture. New Historicists analyze text with an eye to history. With this in mind, New Historicism is not “new”. Many of the critiques that existed between the 1920s and the 1950s also focused on literature’s historical content. These critics based their assumptions of literature on the connection between texts and their historical contexts.
The writer explains that New Historicism considers the analysis of a literary work complete and right only when incorporated in the time frame of the work, as one could easily recognize from its very name.
The writer notes that the poems written by Anne Bradstreet must be referred to from a New Historicism point of view because, beside their value strictly as literary pieces, they were meaningful to the readers in the 17th Century, first in England, where they were first published, and then, in New England, where they were originally written. The writer examines Bradstreet’s religious beliefs portrayed in her poems “Upon the Burning of our House” and “The Flesh and the Spirit”. The writer concludes that Anne Bradstreet found a way to speak a universal language that did not attempt to appeal to the universal values of her times and, therefore, her work was understood and not rejected by her contemporaries.
My Friends, My Comrades
By: Javed Shaheen
Our hands will become hardened and scruffy
Our bodies will turn to stone
But we will bring new hands and new bodies
And continue to break mountains
Our warm blood shall continue to flow
Will immerse in the soil
We shall not let it go to waste
And continue to blossom with it
My friends, my comrades
The winds will sweep away
The black clouds,
The sun will shine
Every corner of meadows and forest shall light up
We shall immerse light in the depth of bodies
And waving our weapons
We shall march forward
Towards a brighter world
Javed Shaheen is perhaps the most politically mature and class conscious poet of his epoch and generation. If his poetry lights the lamp of hope in the darkness then it also has the knowledge of the mutual relationships of darknesses and the interrelationship of lamps. This is precisely the capability that can reduce the distance between the lamps of the parting light and the morning star. It is this profound perception and consciousness ; ideological firmness, that, in spite of his modesty and relative aloofness, takes him from the arena of Pakistan’s Urdu poets into the realm of international literary circles that profess revolutionary thought and cosnciousness. And this proves that poetry is not only a reflection of language and culture, but it is also an expression of the desires, ideologies and thoughts for humanity’s better future.
The concept of cultural studies and economic determinism is one of the major political ideas of the last century. Marxism is an economic and socio-political worldview that contains within it a political ideology for how to change and improve society by implementing socialism. Originally developed in the early to mid 19th century by two German émigrés living in Britain, Karl Marx and Friedrich Engels, Marxism is based upon a materialist interpretation of history. Taking the idea that social change occurs because of the struggle between different classes within society who are under contradiction one against the other, the Marxist analysis leads to the conclusion that capitalism, the currently dominant form of economic management, leads to the oppression of the proletariat, who not only make up the majority of the world’s populace but who also spend their lives working for the benefit of the bourgeoisie, or the wealthy ruling class in society
Marx develops a comprehensive, theoretical understanding of political reality early in his intellectual and activist career by means of a critical adoption and radicalization of the categories of 18th and 19th century German Idealist thought. Of particular importance is Hegel’s appropriation of Aristotle’s organicist and essentialist categories in the light of Kant’s transcendental turn.
Marx builds off of four contributions Hegel makes to our philosophical understanding. They are: (1) the replacement of mechanism and atomism with Aristotelean categories of organicism and essentialism, (2) the idea that world history progresses through stages, (3) the difference between natural and historical (dialectical) change, and (4) the idea that dialectical change proceeds through contradictions in the thing itself.
By: Tegan and Sara
Shoulders of perfection
Let them drag you straight across
And tell me
Have we found perfection
Are we finally lost and
I’m staring from a distance
Why don’t you come get a closer look
I can guarantee that lickin’ the package
Ain’t ever quite as good as
So they’re looking for a new face
With a voice to go along
I can tell you right now that ain’t my style
I don’t do no sing alongs
With my freedom from the mighty sky to the ground
She said you’ve got the freedom baby
Walk out if they drag you down
Standin’ on the edge of a crisis
We decide to raise our own voices
Consider that the sounds is our own
And the fact our feet grow up from the ground
This is where I wanna be
This is who I wanna be
So they get my voice
But they can they can never get my soul yes
There’s a million things about me
You will never know
Like they caught me on video
And yeah they caught me on radio yeah
They caught me on video radio stereo
Freedom from the mighty sky to the ground
She said you’ve got the freedom to walk out
If you drag me down
You’ve got the freedom baby to walk out
If they drag you down
If they drag you
If they drag you
Empowering Women aims to inspire women with the courage to break free from the chains of limiting belief patterns and societal or religious conditioning that have tradiitonally kept women suppressed and unable to see their true beauty and power.
This song offers self help tools, information, encouragement and inspirational quotes and sayings for and by women to use as a guide on the journey of Reclaiming Their Power. Women are encouraged to see and bring forth the beauty and strength within themselves, to be inspired to be the best they can be, and to let their Spirit (Goddess Selves) shine through.
The Black Cat
By Edgar Allan Poe
The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat’s eye.
From that moment onward, the cat flees in terror at his master’s approach. At first, the narrator is remorseful and regrets his cruelty. “But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS.” He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.
At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal’s chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.
Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master’s feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife’s body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife’s corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: “I had walled the monster up within the tomb!”
Upon reading the works of Edgar Allen Poe, it is quite apparent that his mind clearly was disturbed. He had a somewhat lonely life and I guess he had to make it seem better than what it was. So he came up with these twisted tales…Either way i love this and all other Poe stories and poems. I do feel bad for the poor creature in this one though. All in all I found this one very likable, but I understand why some would find it a bit boring.
The narrator of the story sets out to write an account of household events, events that led him to murder his wife and resulted in his conviction and imminent death by hanging. The narrator states that he is not mad and he is sure that later people will view the story as a succession of ordinary cause and effect events, yet the narrator implies that there is a hint of the super-natural in the story he is about to share.
The narrator begins by giving an account of his childhood in order to convey to the listener that he had, at one time, been tenderhearted and loving. He mentions his fondness of animals and how he was so tender towards his animals that his friends made fun of him.
He married, while young, a woman whose disposition was compatible with his. She recognized his fondness for animals and brought many pets into their home. One pet in particular stood out, it was a large black cat. The cat was remarkable not only for his size but also for its apparent intelligence which led the narrator’s wife to reflect on a popular idea that people considered black cats to be witches in disguise. After the narrator reveals this interest in the cat’s ‘nature’ he quickly covers his tracks by saying that he shares the conversations simply because it occurred to him not because he placed in weight on it. They named the cat Pluto. Pluto became very attached to the narrator and followed him everywhere.
Readers’ Response Criticism
Early morning from my window
Treasure from my garden I saw
Diamonds on leaves it might be
Sparkling and sitting on the flowers like a bee
Roses are holding it so pretty
Tulips proudly displayed it like a statue of liberty
Precious gems as it appear
Warm sunshine make it disappear
I wish no warm sunshine daily
As the dew makes my garden lovely
This poem was written/submitted by Ency Bearis.
In the poem, Reader-response theory recognizes the reader as an active agent who imparts “real existence” to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates his or her own, possibly unique, text-related performance. The author displays how he perceived a garden, and it depends on my own interpretation now if I’m accepting or not with his interpretation. It stands in total opposition to the theories of formalism and the New Criticism, in which the reader’s role in re-creating literary works is ignored.
Reader-response critics hold that, to understand the literary experience or the meaning of a text, one must look to the processes readers use to create that meaning and experience. Traditional, text-oriented critics often think of reader-response criticism as an anarchic subjectivism, allowing readers to interpret a text any way they want. They accuse reader-response critics of saying the text doesn’t exist. (Reader-response critics respond that they are only saying that to explore someone’s literary experience, one must ask the someone, not pore over the text.) By contrast, text-oriented critics assume that one can understand a text while remaining immune to one’s own culture, status, personality, and so on, and hence “objectively”.
In my own perception of the poem, it shows how the author values the concept of a garden. For him, a garden is not just a garden but a santuary and a blessing from God.
Enchong.. my number#1. haha
Norse Mythology is a strange world. It’s differed from other mythology, in that their characters and world, even in Asgard, are grave and solemn. This may all be due to the fact, even though the gods are immortal, they will be destroyed in the final battle between good and evil.
Everything about Norse mythology catches my attention.. Superb.!
Principles of Literary Criticism (Act.#1)
My Treasure - For Mom
by Kit McCallum
I look back on these years
To see how far I’ve come and grown,
I take a trip down memory lane,
And what I see has shown …
That every step I’ve taken,
You have been there by my side …
From infancy to adulthood,
We’ve stood the test of time.
You cradled me and nurtured me,
Through all these many years;
You held me and did comfort me,
Through happiness and tears.
You’d pick me up when I would fall,
You’d dust me off and then,
Encourage me to get back on
That horse and ride again.
Your constant care and loving,
And your warm inviting heart,
Has always been a treasure that
I knew would n’er depart.
If I could be “just half” the person
You have been to me …
Then you have taught me well dear mom,
For in my heart I see …
A woman whose most gentle soul,
Embraces me each day …
A woman whom I dearly love,
Much more than words can say.
Analysis: (Biographical Criticism)
The author wrote this poem specifically to cherish the things her mother did for her and also to give her thanks to the person she owns her life. This particular poem falls under Biographical Criticism because the author uses her real life experiences in constructing the poem. Furthermore, the facts that the author used in the poem helps the reader to better understand the work that makes it easily for them to grasp the meaning of it.
Kevin Daniel Klaus T. Dacpano
Distance doesn’t matter
if you really love the person,
what matters most is your honesty
and trust for that relationship to work out.
Long distance relationships
are like wind to a fire;
it puts out the small ones,
but inflames the big ones
You know it is love when
you want to share everything with him„
even his pain.
You know it is love when
you can’t stop thinking about him.
You know it is love when
you’d rather be in a relationship
but apart than not in a relationship at all.
But, most of all,
you know it is love when
your happiness is dependant upon his.
At least that’s how I know.
In my life I have had several teachers of all different types. I’ve been lucky enough to have people to teach me about life, and general living strategy, as well as traditional academic teachers that we generally associate with the word teacher. I believe I have a good understanding of what I believe to the ideal teacher. The ideal teacher is creative, insightful, informative, and encourages students to solve their problems through deductive reasoning.
The ideal teacher can be creative in several different ways. Creativity can be expressed in thought, actions, and emotion.
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